1939 SZYMON GOLDBERG VIOLIN LILI KRAUS PIANO Anthony Pini Cello HAYDN SOCIETY 78

$

30

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A series of great  classical orchestral and instrumental performances by major conductors, composers and instrumentalists.

One of the lessor known British Record Societies of the 1930s was the Parlophone HAYDN CHAMBER SOCIETY, which featured the "ideal" Duo of Lili Kraus piano and Szymon Goldberg Violin, here with Anthony Pini Cello.

"From England have come the finest pre war recordings of pianist Lili Kraus and violinist Szymon Goldberg..."

Piano Trio in F sharp , H. XV 2; Piano Trio in C, H. XV 27; Piano Trio in E flat, H. XV 29 Lili Kraus (piano)/Anthony Pini (cello) (1939); 1939 British Parlophone  issue on special Haydn Picture Label

COMPLETE SET 6x 12" 78 rpm records in generic album

CONDITION: BETTER THAN EXCELLENT PRISTINE, possibly unplayed, exceptionally quiet. Album has a rough spine
 

From a review in THE GRAMOPHONE

This volume introduces one to the great trio that recorded in 1939: Goldberg, Anthony Pini and Lili Kraus. Their three Haydn trios are delectably pointed and full of life. They were originally released as an album, unavailable singly. The Paradis Sicilienne - which is really ‘arranger’Samuel Dushkin’s own work, isn’t it? - is heard in a rather dim-sounding 1932 Telefunken. Mozart’s G major Concerto ends the disc in triumphant style (Philharmonia and Susskind, 1951). This and the D major, recorded the following day, are also gems of the violinist’s discography. Testament added the Fifth Concerto, made around the same time, in their 1993 restoration, so obviously it’s not duplicated in this Music & Arts set. What we do have instead is the A major’s slow movement with a contingent from the 1932 Berlin Philharmonic conducted by Paul Kletzki. Throughout, Goldberg manages to balance expressive gesture with stylistic precision. If he is not as obviously expressively generous as was, say, Szigeti in his pre-war recording with Beecham of the D major, or as sensually textured as Jacques Thibaud in his Mozart recordings, Goldberg remains impervious to stylistic change. 

That great violinist and teacher Carl Flesch, not one to confer praise lightly, called the partnership of Goldberg (one of what he called his two "outstanding" pupils, the other being Max Rostal) and Kraus "exemplary"; and certainly their Mozart sonatas for Parlophone in the 1930s were universally praised as highlights of the recorded chamber-music repertory. At that time Mozart's violin sonatas, when they were played at all, were often treated either in nineteenth-century romantic style or, at the other extreme, in a falsely prim manner: in those days long before the appetite for 'authenticity' this duo struck a balance which still convinces and appeals. Goldberg's clean intonation, sensitivity to tonal gradation and crisp bowing (especially his light staccato) give constant pleasure, and Kraus had an unerring ear for matching up her tone so that the piano—still the senior partner in Mozart's day—was never overassertive: if she had a failing, it was that, like her teacher Schnabel, she had a tendency to hurry (as in the triplets of K377's first movement here).

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